I became interested in composing when I
first decided to play the recorder in 1972. Not having access to enough music to
play (and limited funds), I found it necessary to arrange and compose my own. I
learned quite a bit from writing out choral and instrumental pieces from my
school's library for my own use. Today, the same lessons can be learned from the
sequencing of the music of the masters into MIDI files.

Besides copying scores and arranging, careful listening can reveal many aspects
of style and form. Performing the music is the best way to absorb this kind of
knowledge, but attending concerts and listening to recordings can be just as
helpful. The two Harnoncourt books listed below will give you a good idea
of what to listen for.

What not to do ?

I don't recommend anyone compose at a keyboard or any other instrument. It's too
easy to compose a recorder concerto that will inadvertently sound like a piano
concerto. Composing with pencil and paper (virtual or otherwise) will force you
to use parts of your cortex that may be bypassed as you engage in "fantasy" at
the keyboard. Of course, if your intention is to compose a toccata or free form
piece, then go for it.

-Michael Starke, 2000.

Suggested Reading For Baroque Composers

Some of the books listed below have been in my library for many years and may no
longer be in print or could be in the "xth" reprint. My philosophy has been to
go to the source, or read what my favorite composers read, whenever possible.

J. J. QuantzOn Playing the Flute
Schirmer Books
ISBN 0-02-870160-7Not only about playing the flute, but also lots of general info on what makes
a good concerto, sinfonia, quartet, etc. .

J.P. RameauTreatise on Harmony
Dover Publications
ISBN 0-486-22461-9Practical information about the fundamentals of composing for the beginner.
Once you get by all the mathematical theories, the text is straightforward and
practical.

C. PaliscaBaroque Music
Prentice-Hall, Inc.This is a good source for understanding Baroque musical forms.

Knud JeppesenCounterpoint-The Polyphonic Vocal Style of the 16th Century
Dover Press
ISBN 0-486-27036-XThis is a more nuts-and-bolts approach to
Palestrina-style counterpoint.

Gioseffo ZarlinoThe Art of Counterpoint
The Norton Library
ISBN 0-393-00833-9Here is a translation of an important treatise. It is of great interest to me
because of its influence on early composers.

Joseph FuxThe Study of Counterpoint
The Norton Library
ISBN 0-39300277 2Fux's book replaced Zarlino's. Used by all great composers from J. S. Bach to
W. A. Mozart.

Adam CarseThe History of Orchestration
Dover Press
ISBN 0-486-21258-0I hesitate to include this book since it shares some of the same prejudices
about early music as many others I hear from, e. g., the false evaluation of
early instruments as primitive, faulty "precursors" to the more refined and
perfect instruments of today. If anyone else has a book to recommend on early
orchestration, please send the title to me.

The Musical Dialogue
ISBN 0-031340-08These two wonderful books are loaded with information about the
interpretation of early music, the motivations behind the composers to use
certain figures and musical languages, orchestration, tempi, form, and more.

Thomas MorleyA Plain and Easy Introduction To Practical Musick

Walter PistonHarmony
Norton Press
ISBN 393 09737 4

and

Counterpoint
ISBN 393 09728 5Almost too perfunctory to be understood right away, these books are still
useful if read carefully. All of the musical examples are from well known
pieces.

If you can't find any of these books at your local library or bookstore, check
at Powell's. You can search their complete
inventory and
order by credit card via secure form.